from The American Heritage® Dictionary of the English Language, 4th Edition
- n. A tremulous or pulsating effect produced in an instrumental or vocal tone by minute and rapid variations in pitch.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. The musical effect or technique where the pitch or frequency of a note or sound is quickly and repeatedly raised and lowered over a small distance for the duration of that note or sound.
from The Century Dictionary and Cyclopedia
- n. A pulsating effect in vocal music produced by the rapid reiteration of emphasis on a tone, as if under the impulse of great emotion.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. (music) a pulsating effect in an instrumental or vocal tone produced by slight and rapid variations in pitch
But when speaking of the rendition of Handelian arias, he evidently uses the term vibrato in the same sense as Sieber does tremolando.
The Korrosk soldier shuddered, tilted back his head, and roared, a deep vibrato from the depth of his chest.
I love the way the penny whistler bends the note, and his vibrato is devastating.
How come Leopold provides exercises for practising what we today call vibrato, several years before Wolfgang was born, and gives ample indication that the fiddlers around him were using FAR TOO MUCH WOBBLE HABITUALLY, and conductors still come along bright eyed and bushy tailed telling orchestras to use NONE?
Leopold makes it abundantly clear, in his most often quoted remark, that round about 1750 - before his genius son was born, and only 20-30 years after the St Matthew Passion was written - not only were violinists using what we now call vibrato, but they routinely used far too much of it a criticism sometimes foisted upon Itzhak Perlman today.
He had a handsome face and figure, a good bearing, and disclosed familiarity with the stage, and considerable talent as an actor, but he was afflicted with that distressful vocal defect which singers of his school often call vibrato in order to affect to find a virtue in it.
'Rubini,' he says, 'was the earliest to use the thrill of the voice known as vibrato (the subsequent abuse of which we are all familiar) at first as a means of emotional effect, afterward it was to conceal the deterioration of the organ.'
The finger of the violinist vibrates on the string by rocking rapidly back and forth and the vibrato is the result.
This emotion is conveyed through subtle fluctuations called vibrato and the use of vocal registers
The musical technique known as vibrato was banned by a conductor at this year's BBC Proms,